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Tiffany Higgins

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“You throw the lever or don’t, hit one person with the trolley or let five other innocents die, and maybe that’s murder, and maybe that’s something that’s going to stay on your conscience or stain your soul for all eternity. But someone put you there, alone and helpless, in front of the lever. Someone set you up, someone tied those people to the tracks.”

“I spoke to this woman in the supermaket," Charlie barges in again, "and I said I was tired and finding it hard, and she said, 'Ah, you wouldn't change it thoug, would you?' and I had to of course say no. But I wanted to say yes. I wanted to say, 'Actually, Brenda, I would.' I want to go back sometimes. And I do, Noelle. I don't want to be Charlie of then." Charlie bursts into sobs.”

“It's a misery peculiar to would-be writers. Your theme is good, as are your sentences. Your characters are so ruddy with life they practically need birth certificates. The plot you've mapped out for them is grand, simple and gripping. You've done your research, gathering the facts; historical, social, climatic culinary, that will give your story its feel of authenticity. The dialogue zips along, crackling with tension. The descriptions burst with color, contrast and telling detail. Really, your story can only be great. But it all adds up to nothing. In spite the obvious, shining promise of it, there comes a moment when you realize that the whisper that has been pestering you all along from the back of your mind is speaking the flat, awful truth: IT WON'T WORK. An element is missing, that spark that brings to life in a real story, regardless of whether the history or the food is right. Your story is emotionally dead, that's the crux of it. The discovery is something soul-destroying, I tell you. It leaves you with an aching hunger.”